SYMPHONIC PROG

Vocals are in french and the music is a symphonic/neo blend but the fake drums are such a negative for me. They did get a real drummer on their second and final record from 1994 an album I also gave 3 stars to. I consider 1987 to 1991 the dark ages of my music and that was actually one of the reasons I picked this 1989 release up as I was hoping for a hidden gem that might make my top five for that year. Nope.

"Legendes" is not a bad record at all despite my comments but it's not one I'd recommend either despite it having it's fans. 3 stars.

MANGROVE is in a way the baby of Roland VAN DER HORST, guitarist above all but also vocalist and additional keyboardist on the new album "Bridge to Fiction". Bassist Pieter DROST has been present since the early years without being original, while drummer Lex BEKKERNENS arrived in 2016 and the new keyboardist Ebert SWART is the fourth member recently, 2022.

The inaugural and eponymous track "Bridge to Fiction" installs or rather reinforces MANGROVE in the neo- progressive fringe of our bedside music with, as we will see, highs and lows qualitatively speaking. So let's proceed in chronological order and we will include this piece in the "correct but could definitely do better" section, a (8/10) which you have understood will not lead MANGROVE to posterity. "Reflexion" the second track, more adventurous than the previous one, is not necessarily better, on the contrary, the disappointment deepens (7/10), a shame in my opinion that Roland forces his voice which while remaining audible n This is not the main asset of our Batavian friends. Third piece "Stay", finally a welcome correction, it's high level neo progressive, without genius certainly but musically and emotionally superb (9/10).

I would modestly pass on the short (fortunately) "Chasing Something" (4/10) of boring jazz rock to remain polite, before tackling "Touch of Light" and its eight minutes twenty-five which starts with a telluric riff of bass guitar (Pieter DROST) to the point that we could be in the presence of a metal band, the piece is instrumental and proves to be a melting pot between several musical categories, metal therefore but also psychedelic or even space rock (the gurgling keyboards around 3:50), not easy to tame (7/10). "Raindrops Falling" whose title will remind western enthusiasts of a certain BUTCH CASSIDY & THE SUNDANCE KID (at least its main theme) is not sung very well by Roland which harms my fragile eardrums for the overall appreciation of the piece (7/10).

The whole record so far is nothing scary, you might say? Absolutely my dear WATSON, we only have one track left, but not the least "A Call to Arms" which clocks in at over twenty-four minutes and we don't feel like we have to listen to the same combo!

Soaring synths which open Pandora's box until the arrival of the six strings and the rhythm pair, all forming a high class instrumental score for a little over three minutes and twenty minutes, and Roland VAN DER HORST who sings well see very well from this moment (which is why I specified "I don't feel like I have to listen to the same combo"! And the rest can only prove me right, here is a nice range from progressive to trendy symphonic which only asks to be listened to and re-listened to until one is no longer thirsty (10/10), so of course a single title above the pot for a record, it's a little light, I don't disagree with that , MANGROVE will have to put the heat on for a possible future album, perhaps shorten the overall duration by favoring a much higher quality I'm going back to listen to "Facing the Sunset"!

"Wake Up "could very easily be a dawn's early light etude on piano, a gentle awakening from the torpor of rest, ready to face a new day with all its intricacies, even in routine. A fitting segue into the first of three epic tracks, "Carpe Diem", seizing the day in Latin, where the gleaming ivories resonate with new found vigor, the athletic drums in full support, the solo voice ably assisted by choir manifestations, even daring to hit those very high notes with apparent ability. Clanging guitars blend well with the tingling piano, staying true to the intense arrangement that exudes awareness, with dreamy transitions that remind the listener that the clock is ticking. Ben's vocal skills are seriously on par with his talent on multiple instruments, the man can play like the wind, but the voice is quite impressive.

The first of two short "Promenade" pieces provide moments of reflective introspection, the piano setting the stage for "Blind Faith", the second 10 minute+ rocking extravaganza, where the wicked Hammond organ now takes the spotlight, Ben is regarded as one of the finest in Progland, and the raging arrangement is the ideal platform for an initial synthesizer flurry from Sanders, setting up his pal on the churning beast with a series of wandering bursts. Ben tosses in some grittier vocal lines, electric guitar ablaze, as the pace subtly morphs into another choir fantasy, symphonic in its melodic bearing before collapsing into a dissonant vapor. The disillusionment of failed trust.

The childlike piano on "My Home Is Tomorrow" is hopefully positive 'as the road stretches onwards', but the voice becomes agonizingly intense, the tempestuous organ blast even more incendiary, the glowing Moog embers billowing like ashes falling from the skies. The sizzling guitar scorches mercilessly, the drums pounding in unabashed fury. Once again, saner minds prevail as the dust settles, the ornate piano and the voice now delicately in acceptant submission. The cymbals thrash as if to say goodbye to today.

"Promenade 2" is quite different, gently insistent chaos, perhaps inspiring some kind of maritime accident, as the third epic "Castaway" kicks into gear. The delirious electric guitar splashes onto the cosmic beach, a bruising bass undertow and drum concussions, like coconuts dropping from the sky. This is the longest track, a vivid solitary musical adventure, 'drifting into serenity', letting the axe lead the way, as the raising vocal growl implies a certain finality, perhaps even anxiety. A gust of sonic wind and the ambient piano waltzes over the electronic orchestrations, a bright disposition that still carries a sense of impending consequence. The elegant keyboard spins its soothing magic remarkably until it gets shoved aside by the organ tormenter, obstinate and ominous, as the stormy arrangement transitions back into density and courage in the face of despair. A furious guitar swerve sets the sun back in its hiding place, as "Wake Up (reprise)" recalls the infallible notion that night has once again arrived and perhaps, the time has come to rest those bones beside the fire.

4.5 flowing sands

Vocals in english here and we do get flute like early GENESIS. They have a warm sound and I think many would like them but I just can't get past the hero worship. It is what it is. Such a profound statement I know but the bottom line is that this is very good music that has no originality about it which I'm sometimes okay with depending on the album, so there's that. Ramble on.

3.5 stars and better than their second record from 1984.

Many bands soon got in on the act including the lineup of José Rafael García (guitar), Randy López (bass), Rosca López (keyboards) and Rafael Zorrilla (drums) who had traversed the Franco years from 1971 to slightly beyond in 1978 as the band Expresión delivering a mix of psychedelic and hard bluesy rock but in 1978 the members suddenly shifted gears and changed their name to MEZQUITA (means "Mosque" in Spanish) and transmogrified itself into one of the most accomplished progressive acts of the entire Spanish prog scene that erupted in the latter half of the 1970s. While the band existed from 1978-83, MEZQUITA only released two albums, the first of which RECUERDOS DE MI TIERRA ("Memories Of My Homeland") is considered a Spanish prog classic.

The band emerged from the Andalucían city of Córdoba which historically was a crossroads of cultures as well as an Islamic stronghold after the Umayyads conquered it in 711 and would remain so until the Castillian-Leonese king in the year 1231 recaptured it and brought it back under the jurisdiction of the Spanish Empire. Despite all the battles and booty plundered throughout its history, the city and region has left an indelible mark on the Spanish culture existing in the region where Arabic, Moorish and Spanish influences forged a musical truce which would become the global musical phenomenon flamenco which in the 1970s was utilized to create a new style of progressive rock called Rock Andaluz of which bands like Triana, Veneno, Cai, Imán Califato Independiente and MEZQUITA would develop to put Spain on the map with its own unique style of progressive music.

The band's debut RECUERDOS DE MI TIERRA was released in the summer of 1979 and displayed the region's rich cultural heritage fortified with flamenco, Arabic and Moorish influences that had made Andalucía's traditional music so exhilarating. The band crafted an amazing display of adapting these sounds to the world of crazy complex prog rock and in the process unleashed one of the most defining and daring displays of virtuosity in all of the Spanish prog scene of the era. While a good five years late to the original prog party, MEZQUITA wasted no time and went for the prog jugular with RECUERDOS DE MI TIERRA with dazzling time signature rich guitar workouts, ELP inspired keyboard freneticism and crazy twisted compositional meandering all kept in check by the traditional melodic underpinnings that merged the present with the past.

The blistering title track immediately sets the stage with Arabic music scales luring the listener in like a desert mirage before jumping into a high tempo, time signature fueled frenzy with lightning fast precision and impeccable instrumental interplay and competent vocal deliveries in the Spanish language. The album while offering a few moments of placidity for the sake of catching one's breath hardly lets up in its 36 minutes playing with six tracks blurring the distinctions between flamenco rock, jazz and the most demanding strains of progressive rock in the vein of Gentle Giant, Yezda Urfa or the Mahavishnu Orchestra. With a galloping rhythm section stampeding full force like a herd of spooked cattle over the plains, the soloing delivers a lightning bolt approach whizzing around the rhythmic processions. The musical richness was fortified with guest musicians providing a string section along with several violins and a cello often sounding a big liker a spaghetti western.

The Spanish prog scene was utterly unique standing proud and distinct from its European counterparts and although thwarted by political totalitarianism was allowed to erupt into a frenzy of creative expression for the short time that prog was still in fashion however the best years had been missed and most of these bands including MEZQUITA only squeezed out a sole album or two as their creme de la creme before financial pressures forced them either to give it up completely or to adopt the model of dropping the complexities altogether and delivering a more mainstream mix of rock or new wave. Unfortunately MEZQUITA did exactly that and while not abandoning its signature sound altogether, watered it down enough to be of no interest as heard on the 1981 sophomore album "Califas Del Rock." While leaving only this sole example of Rock Anadaluz at its most proficient and wildly unhinged, RECUERDOS DE MI TIERRA has become a cornerstone of the entire Spanish 70s scene and a reminder that had this nation been allowed to participate in the golden years of prog that it would've more than produced some of the top acts of the entire prog 70s.

From the start of "Cosmic Mess", the instrumental virtuosity is there. Prog fans, settle in, you are at home here. Then the title takes a Rock turn with the arrival of Neal Morse 's singing lost in a reverb supposed to evoke the character's situation. The song is enhanced by dynamic brass parts and segues directly into the next "My Dream", where the trio D'Virgilio , Morse , Jennings is reconstituted (don't forget to listen to their album 'Sophomore'), for a set of high-level vocal jousts. Ross Jennings (Haken) stays on track for "Dreamer in the Jailhouse", a title still part of the Prog, dotted with interesting keyboard touches and some metal guitar insertions. The fervor does not diminish on "All Hail", which contains a bridge with a soaring 60s Psyche Rock atmosphere, and a finale which gains in intensity led by beautiful keyboards. A furious Prog title with vocal performances reminiscent of Gentle Giant, "The Argument" is a pure virtuoso demonstration and serves as a sort of introduction to "Make Like a Breeze", a resolutely Rock/Metal piece with the arrival of Ted Leonard on vocals and enhanced with grandiose organ and guitar parts.

The "Overture Reprise" reminds us of the opening theme of part 1, 'The Dreamer', then Neal Morse displays his talents as a composer on " I Hate My Brothers" which skillfully mixes Hard Rock guitars and brass. On "Guilty as Charged", we recognize the melody used on "Heaven in Charge Of Hell" from Part 1. It is from here that the two parts seem to begin to interact. The title also features a very beautiful string part, shifting the story to a more emotional angle. And on "Reckoning" it's the riff from "Gold Dust City" from 'The Dreamer' that emerges! Return of cannon vocals in Gentle Giant mode on the introduction of "Bring Ben", which then evolves into a more accessible Classic Rock style à la Toto. Then comes "Freedom Road", a ballad in the purest Neal Morse style, emotionally charged, with the support of the strings.

Return of the melodic theme of "Heaven in Charge Of Hell" from 'The Dreamer' on "The Brothers Repent Joseph Revealed", an extremely rich piece with numerous reminders of themes and marked by very successful string and brass arrangements. "Restoration" leans for a moment towards Jazz and Samba and brings a little lightness to this end of the story via a style that recalls the luminous side of the Extreme group's album 'III Sides to Every Story'. On "Everlasting", it's party time for the reunion of a large part of the protagonists who embark on a sort of jam session. The story closes with "Dawning of a New Day (God Uses Everything for Good)" in which Neal Morse can freely deliver his message of hope by speaking directly to us. The title (and the entire work) ends in apotheosis with a very orchestrated crescendo and the repetition of the words "God uses everything, Everything for good".

That's it, end of story. In total, combining parts 1 and 2, Neal Morse offers 2 hours 20 minutes of high quality music, all in less than 6 months. It's incredible to see such creativity from such a prolific artist. Perhaps some will see it as the work of the hand of God. In a more Cartesian way, we can imagine that the musician finds the capacity to surpass himself by tackling a theme of such dimension and which is so close to his heart, as many other artists have done before him.

Review originally posted on www.progcritique.com.

The next album in line was BETWEEN FLESH AND DIVINE which offered a clever continued theme in the title that when taken together offered an uplifting message about spiritual ascension. Following from the playbook set on the debut, ASIA MINOR continued the Camel and Genesis inspired symphonic prog only took everything to the next level including adding keyboardist Robert Kempler to the lineup which also included Setrak Bakirel (lead vocals, guitar, bass), Eril Tekeli (flute, guitars, bass) and drummer Lionel Beltrami. Having gained a marginal cult following with the debut, BETWEEN FLESH AND DIVINE found a much more enthusiastic reception as it was the perfect album to appear between the waning symphonic prog 70s and the upcoming 80s neo-prog revival that would soon take England by storm.

This time around the Camel and Genesis aspects are completely in tact but also on board are more angular guitar workouts in the vein of King Crimson, flute performances reminiscent of Jethro Tull all topped off with some Keith Emerson inspired keyboard workouts. There are also many musical outbursts that are straight of the Yes playbook. ASIA MINOR developed a much more accomplished sound with this sophomore release and seemed to completely ignore any current trends that were sweeping the world's music scene including punk rock, new wave and electronic music. ASIA MINOR was clearly smitten with the early 70s and delivered two albums that easily could've found themselves side by side with French classic acts such as Ange. The biggest leap in quality was clearly generated by the musicians themselves. While the debut was a little lackadaisical and unsure of itself, on album #2, ASIA MINOR was ready for prime time and played their music with gusto. The addition of Kempler and his virtuosic keyboard skilled obviously upped the other member's game plan manyfold.

The album only featured six tracks but clocked in at 34 minutes. No sprawling prog behemoths to be found but rather succinct uncrushed tracks that ranged from 3 to nearly 8 minutes in length. A placid and dreamy affair, BETWEEN FLESH AND DIVINE also displayed moments of guitar heft and the true rock spirit as well as hairpin turns in musical motifs as well as sprinklings of angularity. For the most part the atmospheric lushness dominates but the diverse elements that punctuate the album's run offer the much needed spice that the debut sorely missed. The band also added flavors from the Turkish homeland which gave the album a bit more exotic flair as compared to purely British bands. The compositions themselves are the strongest trump cards on the album through with sophisticated developments that are deftly delivered with excellent instrumental interplay and sudden changes in dynamics. The diverse roster of varying cadences added even more continuity to the greater complexities unleashed.

While many consider BETWEEN FLESH AND DIVINE to be the band's masterpiece and it clearly is ASIA MINOR's most accomplished effort, the one nagging problem i find with this album and ASIA MINOR in general is Setrak Bakirel's lackluster vocal style as he just didn't deliver a dynamic enough vocal performance to match the music's high value octane. While he certainly gets the job done and i don't find him unpleasant in any particular way, it really boils down to his inability to adapt his vocal style to the music and add that extra contrapuntal element that a gifted vocalist should instill into the musical flow. I always find myself wishing that an Italian prog singer such as Le Orme's Aldo Tagliapietra would've taken on the vocal duties to add more emotional delivery whether it be in English, Italian, Turkish or gibberish. Overall i can't fault the album for vocals that don't quite get my juices flowing but it certainly keeps me from enjoying it on a level where i want to return more often. I really only pull this one out after many years of forgetting about it. For me not the masterpiece everyone makes it out to be but there is no doubt it's an excellent addition to any lovers of classic symphonic prog.

If, to a certain degree, it was a great thing for artists willing to explore their creativity, on the other hand you have a very unfocused effort where the best and the worst ideas are sometimes mixed in the same song and the overall result is good, but not great.

There are some parts that are amazing, like the intro of Heaven, with ethereal mellotron. There are others that are disjointed, parts of Hell and The Dream, songs that mix psychedelic, baroque pop and even long classical quotes (in the case of the latter) or Zappaesque spoken parts (the former).

There classically influenced passages and direct quotations, and the prevalence of keyboard instrumentos in the sound help giving a more symphonic feel to the album, but overall I'd classify if more as psychedelic weirdness than anything else, which is very good, of course, but not exactly the "lost" progressive gem one would expect. They'd get better and more focused on the following album, unfortunately their last before disbanding.

3. Jærtegn yes the harpsichord is beautiful, a memory of an ancient time, yes Lars sings well and it feels like we are around a Viking fire, yes but it goes around magnificently in circles, a bitter observation, yes it lacks that energy which in WOBBLER or KALUGIN makes you strain your ears and listen again for their own sound 4. Naturens katedral comes to change my mind, why? A more tortured sound which takes from the 70's and monopolizes it to create, which will even push the musical vice to flirt with the hard prog Dinos before their time, yes GENESIS with DEEP PURPLE used the organ for hard rock psyche scents ; in short it swirls, it swells, we feel the prog blood flowing, the one that makes you move and not doze off; grandiose title through the use of instruments for a tormented but progressive bucolic journey, but why did we have to wait for the last title? (2.5)